First American Art Magazine No. 21, Winter 2018/19 - Page 20

SEVEN DIRECTIONS cornerstones of Indian Market for decades. As the institution prepares for its 100th anniversary in a couple of years, now might be the time to drastically rethink the models for admission, for judging, for everything. Maybe it’s too late. Maybe it’s too big to stop the status quo. However … as we get ready for the next 100 years of Indian Market, SWAIA would benefit from a major overhaul of its policies and procedures. It will be messy, and I understand it’s easier said than done, but 100 years is a long time. We (they) can do this. available to be worn during the dedication and launch of new dugout canoes. During these dark times with Native rights and protections under fire, the recognition and honor bestowed upon customary and contemporary Native artists at Evergreen State College feels like hope. NORTH: When I was in high school, my dad showed me how to do linocuts. I cut out the lines I should have kept, so the bear on the road and the fireweed plants were like skeletons of them- selves. My eeshaan little print was nothing like the prints I grew up with made by Kathy Isturis depicting full-bodied Alaskan plants and animals. Not until college did I sit down and think about how to cut out the negative so the positive would remain. It was incredibly satisfying. The same kind of satisfying as the prints in Convergence North/South, a printmaking exhibition by Nunavik/ Montreal artists and on display at Feheley Fine Art, a Toronto gallery. Three Inuk artists from Nunavik— Qumaq Iyaituk, Mary Paningajak, and Passa Mangiuk—worked with Montreal-based artist and printmaker Lyne Bastien to create individual chine-collé prints as well as large mosaic-type assemblages of the smaller prints that worked as one large-scale work, with each woman creating the large-scale piece in distinct colors. The prints use a graphic style of image similar to stone-cut printing techniques used in the 1950s and 1960s. The images chosen by the artists represent what is most salient to them as Inuit women. The most important “things” range from flora and fauna, clothing, dance fans, hunting tools, and whales, to watercraft and fishing gear, all of which are reduced to incredibly elegant forms and compo- sitions. If you could strip away all the extras, what would be the essential aspects of your community? UP: Up in the air: Santa Fe Indian Market. Yes, I realize it is the most lucrative market for many of our friends and family. And yes, I adore the reunions at every turn, the fashion, discovering new works that consistently smash the ceiling of what Native artists are capable of creating. However, the entrance quotas and judging criteria need more transparency. I can see both sides of the argument: the need to make room for the up-and-coming artists pushing boundaries, and, the need to hold space for the legacy artists who have established careers and who have been 18 | WWW.FIRSTAMERICANARTMAGAZINE.COM DOWN: As in falling. We’re witnessing challenges to toxic masculinity, patriarchy, and sexual violence. The investigations and indictments of the Church. The questioning of capitalism. The foundations of longstanding Western institutions are crum- bling as we speak, but even as this historic time unfolds, the racist, homophobic, privileged class in charge cling to power and assert their positions in alarming and damaging ways. The screams of unfair treatment by those in power are being faced with stone-cold eye rolling by those of us who live with system- atic oppression, who are survivors, and who are carving out space even as we sustain the regular blows that let us know that we are not yet in the promised land. Be safe, friends. For even though we can see substantial change on its way, the passing of privilege is never done peacefully. CENTER: In early October I had the humbling honor to present to the world Preston Singletary: Raven and the Box of Daylight. The Box of Daylight is an exhibition I’ve been guest curating for four years for the Museum of Glass in Tacoma. Using a narrative, immersive exhibition style is a radical departure for Singletary, a Tlingit glassblower and sculptor, but is staying true to his growth as an artist. The exhibition tells the story of Raven and the Box of Daylight to the visitor and is fully “illustrated” in Singletary’s glass art. The story of Raven “stealing” the light is a well-known trick- ster story along the Northwest Coast and contains similarities to other Indigenous origin stories and shared religious symbolism with cultures all over the world. Our goal was to create an envi- ronment in the gallery so that the visitor would be inside the story, following Raven’s footsteps and witnessing his efforts to